Blues, Jazz, and Rock ‘n’ Roll / An Evening with Robert Greenberg, the Erik Jekabson Quartet & John Santos

Thursday, February 1, 2018; 7:30 – 10:00 pm

Marines’ Memorial Theatre, San Francisco

In collaboration with the Berkeley-based CA Jazz Conservatory the only accredited, stand-alone conservatory devoted to jazz studies in the United States.

Blues, Jazz, and Rock ‘n’ Roll / Robert Greenberg. An extraordinary offshoot of the otherwise horrific institution of slavery was the synthesis of African and European music in the melting pot of North America. This synthesis created a dazzling array of utterly unique musical genres, among them, the Spiritual, Blues, Ragtime, Jazz, and Rock ‘n’ Roll. Starting with West African music, we will observe the development and evolution of the African-American Spiritual, Blues and the emergence of Ragtime. We will pay special attention to the “birth” of Jazz in the amazing multi-racial, multi-ethnic city of New Orleans, and the role of the New Orleans native Louis Armstrong in the advent and popularization of jazz in the 1920s. From there, we’ll trace through the development of “Swing” in the 1930s, “Bebop” in the 1940s; and post-WWII youth culture and the advent of Rock & Roll in the 1950s, itself a harbinger of the Civil Rights and Youth movements of the 1960s.

Performance/ the Erik Jekabson Quartet and John Santos, featuring Tommy Folen (bass), David Flores (drums), Erik Jekabson (trumpet), Grant Levin (piano) and John Santos (percussion).

Presenters

Tommy Folen (bass). World-class bassist, guitarist, vocalist, keyboardist and producer, Tommy Folen is a freelance musician in in the San Francisco Bay Area. After attending the CSUH Music Program he taught in the Oakland Unified School district and gave private lessons in the East Bay. Being a well-versed musician, he has played everything from orchestral bass to jazz and just finished touring the American blues circuit. Tommy currently resides in his hometown, San Mateo, where he is an active part of the Bay Area music scene. He is also an active producer and has worked in the studio with many albums and different types of studio software. He has performed all over the world at venues including The Fillmore, Yoshi’s, various clubs in Europe, New York’s Summerfest, and pretty much every venue in California. Tommy offers Bass, Guitar, and Piano lessons as well as vocal coaching for all ages, and lessons in recording software and production/live sound.

David Flores (drums). Raised in the Bay Area, David Flores began his musical journey at age three when he began playing his first set of drums. The son of a bass player, David was born into the rhythm section while sitting behind his father’s bass rig and his uncle’s drum set. This profound introduction into the world of live music would carve a life-long path for this tireless student, performer, and educator. David is adept at playing Jazz, Soul, Rhythm and Blues, Brazilian, Hip-Hop, Afro-Cuban, and Orchestral compositions. Although he is a drum set player at heart, David is also a skilled hand-percussionist. David has had the honor of working with local and international trailblazers including: Lauryn Hill, Donna Summer, Randy Brecker,  Armando Peraza, Pete Escovedo, Orestes Vilato, Jesus DiazJohn SantosMichael Spiro, Jerry Gonzales, Paquito De Rivera, Steve TurreGreg LandauBobbi CéspedesMark LevineRay Vega, Larry Harlow, Charlie Musselwhite, Rebecca Mauleon-SantanaMickey HartMelvin SealsRusty ZinnMarc Bamuthi JosephMary Wilson of the Supremes, and Ska Cubano.

Robert Greenberg received a BA in music, magna cum laude, from Princeton and a PhD in music composition, With Distinction, from UC Berkeley, where his principal teachers were Andrew Imbrie and Olly Wilson in composition and Richard Felciano in analysis. Greenberg has composed over fifty works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy and The Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam. Greenberg has received numerous honors, including “Steinway Artist,” three Nicola de Lorenzo Composition Prizes and three Meet-The-Composer Grants. Notable commissions have been received from the Koussevitzky Foundation in the Library of Congress, Alexander String Quartet, San Francisco Contemporary Music Players, San Francisco Performances, and the XTET ensemble. Greenberg is a board member and an artistic director of COMPOSERS, INC. His music has been published by Fallen Leaf Press and CPP/Belwin, and recorded on the Innova label. Greenberg has performed, taught and lectured extensively across North America and Europe. He is currently music historian-in-residence with San Francisco Performances. He has served on the faculties of UC Berkeley, CSU East Bay, and San Francisco Conservatory of Music. Greenberg has lectured for the San Francisco Symphony, Chautauqua Institute (as 2006 Everett Scholar-in-Residence), Ravinia Festival, Lincoln Center for the Performing Arts, Van Cliburn Foundation, Nasher Sculpture Center, Dallas Symphony Orchestra, Hartford Symphony Orchestra, Villa Montalvo, Music@Menlo, and University of British Columbia (as 2006 Dal Grauer Lecturer). For many years he was a member of the faculty at the University of Pennsylvania/Wharton School’s Advanced Management Program.. For fifteen years Greenberg was the resident composer and music historian to National Public Radio’s “Weekend All Things Considered” and “Weekend Edition, Sunday” with Liane Hansen. Greenberg has been widely profiled in the press, and in February 2003, The Bangor Daily News (Maine) referred to Greenberg as the “Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Greenberg has recorded 30 lecture courses for the Teaching Company/Great Courses Program. Dr. Greenberg’s book, How to Listen to Great Music, was published in 2011.

Erik Jekabson (trumpet) is a freelance trumpet player, composer, arranger and educator who lives in the San Francisco Bay Area. He is equally busy playing and composing for different bands, leading his own groups and teaching a wide variety of students. Erik has six CDs out under his own name: “Erik Jekabson Quintet” (2017, Wide Hive Record Label); “A Brand New Take” (2016, OA2); and “Erik Jekabson Quartet & John Santos: Live at the Hillside Club” (2014),“Anti-Mass”(2012), and “Crescent Boulevard” (2010) are on his own Jekab’s Music label. His debut CD,  “Intersection,” was recorded in New York in 2002 and released on the Fresh Sound/New Talent label. Erik also co-produced and played on three other recordings: The Electric Squeezebox Orchestra’s “Cheap Rent,” “Vista: the Arrival,” and “New World Funk Ensemble.” He’s recorded as a sideman on numerous other jazz recordings, as well as doing session work in many other genres of music and on movie and video game soundtracks. He’s spent time on the road with Illinois Jacquet, John Mayer, Galactic, and the Howard Fishman Quartet, and has performed at such notable venues as the Concertgebouw in Amsterdam, the Algonquin Room, the New Jersey Performing Arts Center, Madison Square Garden, the Tonight Show with Jay Leno and Late Night with David Letterman.  As an arranger and composer, he’s written for vocalists (Madeleine Peyroux, Ani DiFranco, Jane Krakowski, Jackie Ryan, Kenny Washington, Madeline Eastman, Kellye Gray, Sandy Cressman, Raz Kennedy) and instrumental ensembles (SF Symphony, Stanford Jazz Orchestra, Realistic Orchestra, CSU East Bay Jazz Ensemble, SF Composers Orchestra and his own Electric Squeezebox Orchestra, which plays everySunday at Doc’s Lab in San Francisco.)

Grant Levin (Piano). Grant Levin is a multi-faceted contemporary pianist, band leader and writer of music who performs in various configurations from intimate settings to concert halls and festivals. His musical aesthetic is based on dynamics, showcasing the piano as an infinitely powerful instrument, allowing the audience to experience the sonic possibilities. His discography includes Inter Umtrumque, 2015, a CD of all-original compositions in a contemporary piano trio setting from 2001-2008. The Latin Inter Umtrumque means “between two extremes.” The title is reflective of the range and scope of the music performed by Grant Levin.

Seven-time Grammy-nominated percussionist, US Artists Fontanals Fellow, and 2013-2014 SFJAZZ Resident Artistic Director, John Santos is one of the foremost exponents of Afro-Latin music in the world. Born in San Francisco, he was raised in the Puerto Rican and Cape Verdean traditions of his family, surrounded by music. His studies of Afro-Latin music have included several trips to New York, Puerto Rico, Cuba, Brazil and Colombia. He is known for his innovative use of traditional forms and instruments in combination with contemporary music, and has earned much respect and recognition as a prolific performer, composer, teacher, writer, radio programmer, and record/event producer. John has performed and/or recorded with multi-generational masters such as Cachao, Dizzy Gillespie, Tito Puente, Bebo Valdés, Max Roach, Eddie Palmieri, Patato Valdés, Lázaro Ros, Bobby Hutcherson, Manny Oquendo, Chucho Valdes, Paquito D’Rivera, Buenavista Social Club, Chocolate Armenteros, John Handy, Billy Cobham, Zakir Hussain, Hermeto Pascoal, George Cables, Generoso Jimenez, Joe Henderson, Ernesto Oviedo, Regina Carter, Chester Thompson, Francisco Aguabella, John Faddis, Ed Thigpen, Giovanni Hidalgo, Steve Turre, McCoy Tyner, Batacumbele, Poncho Sanchez, Omar Sosa, Mel Martin, Ignacio Berroa, Danilo Perez, Los Pleneros de la 21, Jose Luis “Changuito” Quintana, Armando Peraza, Pancho Quinto, Tootie Heath, Art Farmer, Pupy Pedroso, Jacqueline Castellanos, Malonga Casquelord, CK Ladzekpo, Pancho Terry, Juan De Dios Ramos, Carlos Aldama, Yosvany Terry, Dafnis Prieto, Oscar Castro Neves, Mark Murphy, Orkestra Rumpilezz, Larry Coryell, Lázaro Galarraga, Regino Jimenez, Luis Daniel “Chichito” Cepeda, Modesto Cepeda, Guillermo “Negro” Triana, Lázaro Rizo, Raul “Lali” Gonzalez, Amado DeDeus, Pedrito Martinez, Jose Lugo, Jerry Medina, Orestes Vilató, Kamau Daaood, Johnny Rodriguez, Sonny Bravo, Arturo Sandoval, Nestor Torres, Anthony Carrillo, Paoli Mejías, Raul Rekow, Andy Gonzalez, Jerry Gonzalez, Jovino Santos Neto, Lalo Schifrin, Gema y Pavel, Pete Escovedo, Claudia Gómez, Maria Márquez, Jon Jang, Wayne Wallace, Mark Levine, Elio Villafranca, Bruce Forman, Linda Tillery, Charlie Hunter, Joyce Cooling, Bobby Matos, Mark Weinstein, Roberto Borrell, Sandy Perez, Jesus Diaz, Roman Diaz, Pablo Menendez y Mezcla, Yma Sumac, Rhiannon, Larry Vukovich, Kenny Washington, Faye Carol, Kellye Gray, Destani Wolf, Kimiko Joy, Kenny Endo, Abhijit Banerjee, and Carlos Santana, among others. John is widely respected as one of the top writers, teachers and historians in the field and was a member of the Latin Jazz Advisory Committee of the Smithsonian Institution. He is on the faculties of the California Conservatory of Jazz, Laney College, and College of San Mateo. He has conducted countless workshops, lectures and clinics in the US, Latin America and Europe at institutions of all types including the Smithsonian, the Adventures in Music program of the San Francisco Symphony, the Berklee School of Music in Boston, UCLA, Yale, Stanford, University of Wisconsin at Madison, University of Michigan, Temple University, Brigham Young University, CSU Monterey Bay, CSU Hayward, University of Colorado, Yakima Valley Community College, Ohio Music Education Association, Afro-Cuban Drumming and Dance Program at Humboldt State University, Sonoma State, CSU Sacramento, CSU San Jose, Tulane and Dillard Universities of Louisiana, Jazz Camp West, San Francisco Conservatory of Music, Los Angeles Music Academy, Museum of the African Diaspora, Lafayette Summer Music Program (CA), Oakland Public Conservatory, and La Universidad Inter-Americana in San Germán, Puerto Rico. He has contributed to Percussive Notes, Modern Drummer, Modern Percussionist, and Latin Percussionist. John was the director of the Orquesta Tipica Cienfuegos and the award-winning Orquesta Batachanga. He was founder and director of the internationally renowned, Grammy-nominated Machete Ensemble, with whom he released nine CDs, mostly on John’s Machete Records. He currently directs the highly acclaimed John Santos Sextet Latin jazz ensemble with five full-length CDs: Papa Mambo (2007); Perspectiva Fragmentada, (2008) (nominated by the Jazz Journalists Association (NY), and by Cubadisco [Cuban Grammys] as one of the top Latin Jazz releases of the year, and selected as one of the five top Latin Jazz CDs of 2008 by New York’s All About Jazz, among many honors); Filosofía Caribeña Vol.1 (2011) received a four-and-a-half star review from DownBeat Magazine; Filosofía Caribeña Vol.2 ( 2013); Siempre Clásico (2014). John has also produced four full length CDs with his Afro-Caribbean Folklóric Ensemble, El Coro Folklórico Kindembo since 1994, two of which were Grammy-nominated. The most recent, La Esperanza (2011), garnered a four star review in DownBeat Magazine. The San Francisco Bay Area community has presented him with numerous awards and honors for artistic excellence and social dedication. John received the 2011 Community Leadership Award from the San Francisco Foundation and the 2012 San Francisco Latino Heritage Award that included a Certificate of Honor signed by Mayor Edwin Lee, and Certificates of Recognition from the State Assembly, a Certificate of Recognition from the State Senate, and a Certificate of Special Congressional Recognition from the US House of Representatives. He was also selected for the Man of the Year Award by Brothers on the Rise (Oakland) in 2013. A photo of John from 1987 by pioneering Puerto Rican photographer/activist Frank Espada hangs in the National Portrait Gallery of the Smithsonian in Washington DC. John’s work has also been recognized and supported by the Monterey Jazz Festival (2002), Smithsonian Institution, California Arts Council, United States Artists, Zellerbach Family Fund, Fund for Folk Culture, Ford Foundation, William and Flora Hewlitt Foundation, East Bay Community Foundation, National Association of Latino Arts and Culture, Creative Work Fund, and the City of Oakland. The City of San Francisco issued a mayoral proclamation declaring November 12, 2006 John Santos Day. He was featured prominently in the PBS American Masters documentary, Cachao: Uno Mas (2008), and is the subject of another PBS documentary by Searchlight Films (Oakland) in progress. John is an advisory board member of the Afro Latin Jazz Alliance (NY) and the Oaktown Jazz Workshop (Oakland), and a Trustee of SFJAZZ.

http://johnsantos.com/about-john/bio/#sthash.GQuwQVoo.dpuf

The California Jazz Conservatory (F/K/A Jazzschool, Inc.) is an innovative nonprofit organization dedicated to the study and performance of jazz — America’s indigenous art form — and related styles of music from around the world. Founded in 1997, the institution has recently been granted accreditation by the National Association of Schools of Music (NASM), making it the only accredited, stand-alone conservatory devoted to jazz studies in the United States. The school is located in the heart of the vibrant Downtown Berkeley Arts District, home to Berkeley Rep, the Freight & Salvage and many other arts organizations. Hailed as one of the nation’s most comprehensive schools of jazz and related styles of music, the CJC offers instrumentalists and vocalists of all ages and skill levels a broad spectrum of performance ensembles, lectures, workshops and private instruction. Courses are designed for the professional musician, the serious student and the jazz aficionado seeking personal enrichment. …. The California Jazz Conservatory (formerly the Jazzschool Institute) is a music school offering the aspiring professional a comprehensive 4-year degree program culminating in the Bachelor of Music in Jazz Studies. The CJC provides a challenging curriculum of performance, jazz theory and improvisation, ear training, composition, arranging, transcription and analysis, and music history courses, taught by professional artists and educators. Coursework also includes music business, music technology and financial planning, thoroughly preparing students for a fulfilling career in the performing arts.

Resources Materials

No resources available for this program

Related Events

No related events for this program